Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Madagascar and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1975.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Taipei kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Gregory Isaacs to the grime kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Amazonics. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Section 25,
Notorious Big And Bone Thugs,
Nils Olav,
Jeff Mills,
Sugar Minott,
Mo-Dettes,
The Music Machine,
Sticky Fingaz feat. Raekwon,
Notorious BIG live in Amsterdam,
Sly & The Family Stone,
Rites of Spring,
Stiv Bators,
Bad Manners,
Wasted Youth,
Danielle Patucci,
Chris Corsano,
Delta 5,
a-ha,
Terrestrial Tones,
10cc,
Ronan,
The Fuzztones,
The Stooges,
Godley & Creme,
Radio Birdman,
The Moleskins,
Cheater Slicks,
Jesper Dahlback,
JFA,
The Knickerbockers,
The Grass Roots,
The Fugs,
New York Dolls,
Public Enemy,
Jawbox,
Mantronix,
Michelle Simonal,
Make Up,
Todd Terry,
Tim Buckley,
The Gun Club,
James White and The Blacks,
Procol Harum,
Tom Boy,
Gil Scott-Heron and Jamie xx,
Matthew Bourne,
Idris Muhammad,
Deepchord,
Ralphi Rosario,
Lakeside,
Jerry's Kids,
Pagans,
China Crisis,
Gerry Rafferty,
Joensuu 1685,
Loose Ends,
Juan Atkins,
Anthony Braxton,
Model 500,
The Doors,
Laurel Aitken,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.